Karakara - Mongrel Media

A Claude Gagnon Film
(Canada, 100 min, 2012)
DISTRIBUTION
Métropole Films Distribution
5360, boulevard St-Laurent
Montréal, Québec H2T 1S1
t: 514.223.5511
f: 514.223.6111
e : info@metropolefilms.com
PRESS
Ixion Communications
190A, de l’Épée
Outremont, Qc, H2V 3T2
t : 514.495.8176
f : 514.861.7850
henry.welsh@ixioncommunications.com
Full press kit and high-resolution pictures at www.metropolefilms.com/press
www.facebook.com/karakarafilm
Karakara - A Claude Gagnon Films
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Pierre, a retired professor in his early sixties who ends up making a short,
unsettling trip around Okinawa with Junko, a 40-year-old runaway wife. The
confused intellectual would rather not get involved with this unlikely and
unexpected lover but decides to follow his destiny, wherever it (she?) may take
him.
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About the Director
CLAUDE GAGNON
Born in Quebec, Canada, Claude Gagnon lived throughout the 1970s in Japan, where he
became the first foreigner to be awarded a New Director Award from the Directors
Guild of Japan for his first feature Keiko. In 1987, he directed Kenny (aka. The Kid
Brother), a film featuring a boy born without legs. The first Canadian film to receive a
Grand Prize of the Americas at Montreal World Film Festival, Kenny also won a
UNICEF Special Mention and a UNESCO Award (the top award at Kinderfest) in
Berlin International Film Festival, as well as the top three prizes in Moscow
International Children and Youth Film Festival. The film had a total attendance of over
500,000 in France, recording a big box-office hit and subsequently being distributed
worldwide.
In 2005, his seventh feature Kamataki won five awards including Best Director,
People’s Choice Award and FIPRESCI Award at Montreal World Film Festival, and a
Special Mention of the Jury at Kinderfest in Berlin International Film Festival.
Gagnon's films are well known throughout the world, especially in Japan, North
America and Europe. Four of his films (including Kenny and Kamataki) have been
presented at Berlin International Film Festival and his 1985 film Visage Pâle has been
nominated for the prestigious César Award for Best Foreign Film in France.
Made from an original screenplay that Gagnon wrote after his two-year stay in
Okinawa, his latest film Karakara is a road movie with a unique perspective on mature
individuals.
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Cast
GABRIEL ARCAND as Pierre
Winner of a Genie Award for Best Performance by an Actor in a Supporting Role for
his performance in the international box-office hit The Decline of the American Empire,
Gabriel Arcand is an accomplished actor who has been active in theater and film.
Recently, he won a Jutra Award for Best Supporting Actor for Congorama.
PIERRE is a good-hearted French Canadian who lost his best friend a few years ago.
Approaching the age at which his parents died, Pierre begins worrying about his
unsuccessful life. To find spiritual solace, he comes to Okinawa where he meets Junko,
who upsets his plans for a 'spiritual journey'.
YOUKI KUDOH as Junko
Known for her memorable performance in films by Jim Jarmusch, Youki Kudoh is a
world-famous actress who has worked in the United States, Australia and Japan. She
has played striking roles in a number of Hollywood films including Snow Falling on
Cedars (with Ethan Hawke), Memoirs of a Geisha (with Ziyi Zhang) and Rush Hour 3
(with Jackie Chan).
JUNKO is a housewife who came to Okinawa with her husband and her only son. Her
domestic life almost on the rocks, Junko leaves her husband after a big row with him.
Because she studied in the US when she was young, she has a good command of
English.
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Producers
TAKAKO MIYAHIRA
Born in Naha in 1979, Takako worked as assistant camera operator on Gagnon’s
Revival Blues and as assistant director on Kamataki. Her directorial debut, Looking for
Anne, won Best Film and Best Director at the Asian Festival of First Films in
Singapore. In 2011, Takako established her own film company Kukuru Vision Inc. in
Okinawa. Karakara is Kukuru Vision’s first feature-length production.
SAMUEL GAGNON
Having started his career as film distributor, Samuel worked for Aska Film for five
years and distributed such films as Wong Kar-Wai’s Chungking Express and Happy
Together, and Shohei Imamura’s Palme d’Or winner The Eel (Unagi). In 2001, he
founded Zuno Films, an independent production company based in Montreal. Karakara
is Zuno Films fifth feature films in 10 years since its foundation.
Samuel is also a member of the ACE Network (Ateliers du Cinéma Européens).
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About Karakara
KARAKARA is a traditional container for Okinawan liquor awamori. The name is said
to derive from sounds that the original form of the container would make when it
became empty. The karakara symbolises Pierre and Junko's empty lives, which they
wish to 'fill up' again.
About Bashofu
BASHOFU is Okinawa's textile handicraft made from banana fibre. The craft is
recognised as one of the Intangible Cultural Properties of Japan. Toshiko Taira (1920-),
an Okinawan weaver who appears in the film, has dedicated herself to the revival of
bashofu craft devastated by World War II. Today, she is a Living National Treasure of
Japan.
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Interview with the Director
In Karakara, the central character has the fear of ageing and death. What is your idea
about growing old?
Karakara emerged out of the death of one of my best friends. His death
influenced my perception of death, for it forced me to face my own mortality. After he
died, I tried to go back to my hometown but I could never make it. Something in my
mind prevented me from revisiting any of the places where I used to go out with him.
The first thing I did after Karakara was made was to go back to my hometown again,
which I was able to do. I feel the film fixed something within me and helped me come
to terms with the idea that I’m getting old. I hope it will have the same effect on people
who watch it.
Karakara follows a journey of the two main characters from very different social and
cultural backgrounds. What do you think of Pierre and Junko?
Pierre is very different from me in every aspect, from his background to
personality. But he shares some of the incidents that happened in my life, some of the
things that inspired me. My love for Okinawa is important among them. Also, I wanted
to portray Pierre as one of the many Westerners I have met who come to Asia with all
sorts of preconceived, ridiculous ideas about how they can find a spiritual
enlightenment there. Asia shouldn’t be seen as such an easy way out. The place doesn’t
matter as long as you open up your eyes at one point. I had Gabriel in mind when I
wrote the role. I knew very well what kind of guy he is, and I was able to write the role
in relation to it.
And did you have Youki Kudoh in mind for the role of Junko?
When I came up with the second or third version of the screenplay, I was
already in touch with Youki and writing became easier since then. I liked the idea of
contrasting Youki and Gabriel. They are very different in their physique, age and
personality. Played by Youki, Junko is a woman who becomes a victim of daily abuse
and forgets who she really was. Home means security to her and she clings to it even if
her husband beats her up every day. So she needs something like a push from behind
that makes her ask, ‘Is it really what I want?’ We make many choices in our lives and
believe that those are ours, but in fact they are not. Our choices are influenced by
people around us as well as by fear. Sometimes we make certain choices to impress our
Karakara - A Claude Gagnon Films
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friends. Sometimes fear prevents us from doing what we truly want to do. That’s why I
constantly ask myself, ‘Is it really what I want?’
What made you decide to make a film in Okinawa?
That’s probably because I may be feeling empathy for Okinawa’s history. Both
Quebec and Okinawa have been invaded. Although they became part of larger states,
they preserved their cultures. I think this experience shaped the mind of the people. The
Okinawans and the Japanese perceive Japan differently. They belong to the same
country, but they are not really the same. The Okinawans feel the difference, just like
many Quebeckers who strongly feel their difference from the rest of Canada.
Karakara seems to offer a variety of Okinawa’s traditional music. What do you think is
special about the film’s soundtrack?
I wanted to have a local colour in the film, but I was also very worried about
having something that would be too traditional. What pleases me most with local
musician Ara’s approach was that he is very contemporary and his sanshin is
unobtrusive, and yet adds a unique colour to the film. Although I respect the cultures of
the places I use for the settings of my films, I don’t want to put my films into any
national mould. To me, Karakara is neither a Japanese nor Canadian film. It’s not even
a Quebec or Okinawan film.
Toshiko Taira, a master weaver recognised as Japan’s national living treasure,
appears at the pivotal point in the film. What fascinates Pierre, or you, to her bashofu
factory?
I’ve been interested in Toshiko’s very unique bashofu textiles, but I’m also
interested in the whole thing she did as a human being. Giving jobs to the widows after
the war and providing them with reasons for living, she created a very fascinating
community. I think the charm of her factory comes from each member who are getting
old healthily and playing valuable roles in working together. For Toshiko, it’s never too
late to readjust our lives. It’s never too late to make a move. It’s never too late to do
something we want to do. Her scene plays an important role in the film, and that’s the
part I really like.
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A KUKURU VISION AND ZUNO FILMS PRODUCTION
ククルビジョンズノフィルムズ制作
PRODUCERS
製作・プロデューサー
TAKAKO MIYAHIRA
宮平貴子
SAMUEL GAGNON
サミュエル・ガニオン
CLAUDE GAGNON
クロード・ガニオン
EXECUTIVE PRODUCER
GAGNON
エグゼクティブプロデューサー
ユリ・ヨシムラ・ガニオン
WRITER AND DIRECTOR
脚本・監督
CLAUDE GAGNON
クロード・ガニオン
DIRECTOR OF PHOTOGRAPHY
撮影監督
MICHEL ST-MARTIN
ミシェル・サン＝マルタン
LIGHTING DIRECTOR
照明技師
MOTOSHI KINJO
金城基史
SOUND
録音
ART & PROPERTY
美術／装飾
MASAHIRO YOKOZAWA
横澤匡広
LOUIS COLLIN
ルイ・コリン
GAVIN FERNANDES
ゲビン・フェルナンデス
TOMOYUKI HAMADA
濱田智有希
COSTUME
衣裳
YUKO ARAI
荒井ゆう子
ORIGINAL MUSIC
オリジナル音楽
YUKITO ARA
新良幸人
”TUMI DUMI” (THEME SONG)
meeting
テーマソング『トゥミドゥミ』
LE FLEUVE ST-LAURENT
Karakara - A Claude Gagnon Films
YURI YOSHIMURA
Performed by SAKISHIMA
作：サキシマミーティング
PIERRE LÉTOURNEAU
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CAST
キャスト
Pierre
ピエール
GABRIEL ARCAND
ガブリエル・アルカン
Junko
純子
YOUKI KUDOH
工藤夕貴
Akemi
明美
MEGUMI TOMITA
富田めぐみ
Kenichi
健一
ATTA YUICHI
あったゆういち
Grandma Mekaru
銘苅おばあちゃん
TOSHI MOROMI
諸見敏
Brian
ブライアン
JOHN POTTER
ジョン・ポッター
Qi Gong Master
気功の師範
TENYU OKUDA
奥田天遊
Rental Car Clerk I
レンタカーの店員 II
TAICHI SHIROMA
城間太地
Rental Car Clerk II
レンタカーの店員 II
ASUKA TOKUZATO
徳里明日香
Hotel “Mishima” lady
伊是名民宿美島の主人
TAMIKO NAKA
名嘉民子
Lady at Iheya Kanko Hotel
伊平屋観光ホテルの主人
TAMAE MAEDA
真栄田玉枝
Boat Captain
渡し船の船頭
TAKUYA MAEDA
前田拓也
Sanshin Musicians in Izena Bar
CLUB”
伊是名島の三線グループ
Karakara - A Claude Gagnon Films
“SHOMI MINYO
“諸見民謡倶楽部”
MASAMU NAKADA
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仲田正務
MUNEHIDE KANDA
神田宗秀
YOSHIAKI MOROMI
諸見嘉彰
YUKIO SHINGAKI
新垣幸雄
AKIMI NAKA
名嘉秋美
Sanshin Musicians in Iheya Kanko
伊平屋島の三線奏者
TERUMITCHI AGARIE
東江輝光
TSUKASA MAEDA
真栄田司
Police Officer
警察官
TAKAYUKI ICHISE
一瀬隆之
Bashofu Factory Director
芭蕉布工房の女性
MIEKO TAIRA
平良美恵子
SPECIAL APPEARANCE
特別出演
Toshiko Taira（Living National Treasure)
平良敏子（「芭蕉布」人間国宝)
AND SPECIAL THANKS TO ALL THE WOMEN WORKING IN THE BASHOFU
FACTORY FOR THEIR GENEROUS PARTICIPATION.
撮影にご協力いただいた喜如嘉芭蕉布事業協同組合のみなさま
沖縄ロケサポーターズ・ヒューマンアカデミー・
気功教室の生徒・百名伽藍のスタッフ・北谷町・今帰仁村・伊是名村
伊平屋村・大宜味村喜如嘉のエキストラのみなさま
Karakara - A Claude Gagnon Films
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With the Financing Participation of
Telefilm Canada
Canadian Federal Tax Credit
Quebec Provincial Tax Credit
Mongrel Media
Zuno Films
in Japan
Okinawa Contents Fund(OCF)
JCC
Ryukyu Shimpo Co., Ltd.
Radio Okinawa Corporation
Okinawa Convention & Visitors Bureau
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